The Ghost of a Saber Tooth Tiger

The Ghost of a Saber Tooth Tiger
El Rey Theater
Los Angeles, CA
By Adele Jacques
Photography by Mila Reynaud

On May Saturday 17th, the stage El Rey theater transformed into the playground of two post-apocalyptician children, the Masters of Ceremony of The GOASTT family, i.e. Mother Charlotte and Father Sean. Charlotte and Sean are a match made in psychedelicious heaven. Everything on their cloud is aesthetically pleasing and tenderly hypnotic: lava lamp bubbles lighting two eye-cotton-candy lovers, ethereal harmonizers who stretch melodies like angels draw their bows, dipping their unpolished pastel notes in minor chords, chewing their words and singing with a mouth full of gum. Sean is a maestro at all instruments and Charlotte’s nonchalance doesn’t take away from her musical skills and her dreamy voice. One can’t stop listening to her harmonies and watching her long fingers caress the neck.

The rest of the Ghost of a Saber Tooth Tiger family, best friends, long time collaborators, serves diligently their parents with talent and discretion. Second guitar, keys arrangements and rhythmic section are organically cooked on the spot, no preprogrammed sounds on softwares, only the good ol’ analog: the psyche-rock soup is prepared with wah-wah and delay pedals, vintage keyboards and organs, a small drum kit, percussions: a gong, a tambourine and a xylophone. Needless to say, GOASTT’s songs reminisce Sean’s musical lineage, clearly on “Too Depp”, “Poor Paul Getty” or “Jardin du Luxembourg”. Other songs flirt with Sean’s pairs contemporaries: spotlight was on Pink Floyd in “Moth to a Flame” evoking “Dark Side of The Moon” and on Syd Barett’s “Long Gone”, covered to close the show. “Xanadu” experiments on Eastern musical scales like Page/Plant on “Kashmir”. As for current affiliations, “Animals” resonates with the best of Beck, whom they will open for on his June tour of the Midwest, East Coast, and Canada. On “Johannesburg”, sixties French pop fashion is perfectly shouldered by model Charlotte, whose little orgasmic onomatopoeias à la Jeanne or à la Brigitte -depending on one’s cultural preference add feminine flavors to the cook pot. The romantic ballade “Golden Earring” tributes German singer Alexandra, who also lived a romantic and tragic life in the sixties.

They all play well on their playground, but our eyes are on Sean and Charlotte though. And their eyes are into each others’. The self-integrated duet: musicians, producers, label owners, life partners talk about themselves as a WE and it shows up there. Eight years ago, a child of the 70′s meets a child of the 80′s with two complete different backgrounds but a plethora of shared interests. Teaching each other, Charlotte never heard of “Lucy in the Sky” before she met Sean, they nested what Charlotte describes in an interview, a self-sufficient home and studio. Their Willy Wonka factory of music and love, inhabited by strange artifacts from both their life collections, could be a three-wall rooms dollhouse, where each floor is dedicated to a different creative part of life. The empty fourth wall is for their agile hands to animate their own in and outward world: a snowman sweating in a terrible breeze, mannequins beginning to itch, animals escaping the zoo, kites made out of our bones and every last circle has been turned into a square.

Taking several years to carve “Midnight Sun”, The GOASTT has released a refined and daring album with a lot of original stories from the music and love factory, rich of a fantastic range of organic convoluted sounds, puns and playful words, smart compositions in collages, in which pop-rock and psychedelic references are regurgitated with flair, despite the unavoidable presence of Sean’s pedigree. If The GOASTT’s stage performance lacks some of the album powerful energy; the band is still young and starting their tour. The GOASTT is a promising family, on its way to outgrow their pairs and give birth to their own classics. “This is your big debut” says their song “Great Expectations”. We believe it!